Welcome to Issue 23 of MMReview! You will find reviews of music from old friends like David Bromberg and Joan Osborne as well as notable releases by new or less well-known artists. Every time I publish MMReview, I hope that someone will discover an artist they have never heard, who will fill their lives with music. You will notice that equal time is being given to some of the older CDs, or Slipcrackers. It is a special pleasure to bring some of these albums to your attention, especially with so few people having access to radio stations that play a broad range of this kind of music.
Clearly, the most significant recent album in this group is the long-awaited release of Dave Carter and Tracy Grammer’s Seven is the Number. To me it is not only a fine album, but the historic re-release of an out of print and much talked about first album of a master.
If these reviews pique your interest in these albums, please click on the artists’ names to visit their web sites. You can find out more about the artists, listen to samples of their music and check their schedules. I hope you will find this to be a valuable way to discover music that will matter to you.Welcome to Issue 23 of MMReview!—Michael Devlin, Editor
Featured Review:
Dave Carter and Tracy Grammer—Seven is the Number
Reviews: (Click titles to jump to reviews)
Nancy Apple & Rob McNurlin—River Road or Rail
ASV—Goin’ To The Dance
Chuck Brodsky—Tulips For Lunch
David Bromberg—Try Me One More Time
Greg Brown—The Evening Call
Butch Hancock—War and Peace
Wil Maring—The Calling
Mountain Thyme—A Smile at the Door
Ollabelle—Riverside Battle Songs
Joan Osborne—Pretty Little Stranger
Slipcrackers: (Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.)
Nancy Apple—Shoulda Lied About That
Aoife Clancy—Silvery Moon
Tony Furtado and the American Gypsies—Live Gypsy
Tim Gorman—Celtic Loop
Greg Hobbs—Threats & Promises
Randy Kohrs—I’m Torn
Lunch Money—Silly Reflection
Wil Maring—The Turning of a Century
Daryl Mosley & Tim Graves—Remembering the Beacon Brothers
Peter Mulvey—Ten Thousand Mornings
Various—Hot & Spicy
Various—13 Ways to Live
Featured Review:
Dave Carter and Tracy Grammer—Seven is the Number
Seven is the Number is Dave Carter and Tracy Grammer’s remake of Carter’s solo 1996 debut album, Snake Handlin’ Man. Most of the people who care about the kind of music its creator would label “postmodern, mythic American” discovered Carter’s music on the 1998 album When I Go, Dave and Tracy’s first duo recording. I was lucky enough to seek out this album soon after its release upon the enthusiastic recommendation from another fine singer-songwriter, Darryl Purpose. My first and lasting impression of this album is that it gathered the various elements of country, Western, folk and popular music like a magnifying glass bends sunlight into a searing focus. Carter’s songs invoke a wide range of emotions from humor to melancholy and use language in a way that is at once lofty and accessible. Carter and Grammer’s playing is sophisticated and their vocal performances are subtle and charming. While researching background information for an interview with the couple, I became aware that there were but a few copies left of the original run of five hundred of the pre-duo Snake Handlin’ Man, so of course, I immediately bought it.
It was hard to set aside When I Go to listen to Snake Handlin’ Man, but when I did I discovered wholly other aspects of Carter’s music and several songs that stand with the best of his work. Two of the songs appear on subsequent albums, “The River, Where She Sleeps” on When I Go and “Cowboy Singer” on Tanglewood Tree. As the duo rapidly became the darlings of the folk and acoustic circuit, songs from Snake Handlin’ Man such as “Red (Elegy),” “Texas Underground,” “Long, Black Road Into Tulsa Town” and “Gun-Metal Eyes” attained a legendary status among fans who heard the tunes live, or on folk radio stations. Guitar chords and lyrics of many of the songs were deciphered and posted on Ron Greitzer’s web site. While the rest of the duo’s fan’s snatched at fleeting glimpses of some of the songs, all of the songs on the album became for me a part of the Dave Carter oeuvre and as such, an integral part of the emotional and spiritual enrichment I gain from his work.
Of the less often discussed material, “Hey Tonya” is a song sympathetic to the infamous skater, Tonya Harding. It is quite a lesson in compassion to hear a thoughtful, kind and beautifully written song about one so publicly reviled. “Working for Jesus” is a song that snuck up on me because I did not realize immediately that it was about the death of a loved one (a preacher like his mother). With a songwriter like Dave Carter, who is such a restless observer of the human condition with a poets love of words and turn of phrase, one often becomes entranced with songs that may have been overlooked on first hearing.
Over the years I had heard that Dave said he was not satisfied with the performances on Snake Handlin’ Man. I have never found anything that sounds “wrong” on this album. It is pared-down and direct with moments of dazzling instrumental prowess. The only thing you might say is missing is Tracy. On Seven is the Number, Tracy is more of a backing musician than on any of their other albums, but she is still a strong presence. “Seven is the Number” and “Gas Station Girl” replace “The River Where She Sleeps” and “Cowboy Singer.” Neither song is as memorable as the songs they replace, but they are well-done. “Seven is the Number” takes its tone from Tracy’s opening violin solo and establishes a haunting melody that stays with you. In general, production is slightly fuller and the tempo is a little slower than on Snake Handlin' Man. Fiddle replaces accordion on “Texas Underground” and Tracy’s playful vocals recall the wonderful chemistry of the duo on stage. “Red (Elegy)” gets Enya-like harmony vocals and an unusual electronically processed background whisper vocal that would have Beatles fans trying to play it backwards for messages. “Workin’ For Jesus” is wonderfully complete with Tracy’s violin countermelody and soft harmonies while her mandolin similarly graces “Sarah Turn ‘Round.” The new version of “Snake Handlin’ Man” is good, but I prefer the more “possessed by the spirit” sound of the original.
Seven is the Number is important, not only because it is a legacy recording of first songs last recorded, but because it a complete and beautiful album. As for Snake Handlin’ Man, it is like a lost Jimi Hendrix, Beatles or Coltrane recording. Dave Carter is the product of a broken mold and even though he still awaits wider recognition, he is a master artist with passionate fans. Hopefully they will eventually get to hear Snake Handlin’ Man. Loved music is personal, weaving itself into the fabric of the emotional events of one’s life. Seven is the Number adds significantly to the whole cloth of Dave Carter and Tracy Grammer.
Reviews:
Nancy Apple & Rob McNurlin—River Road or Rail
2005, Ringo Records
You might say they remind you of Johnny and June or Dolly and whoever, but they are not just imitating the classic country greats, they’re doing it for real. Most of the songs on the album are originals. Like the aforementioned greats, Nancy Apple is a unique and charismatic performer with a twang and a different drum to march to. She is well known in the Memphis twang-scene, hosting a radio show and playing a leading role in picking parties and shows. Rob McNurlin is a fine bass and guitar player with a classic deep country voice that makes you believe whatever he sings. The effortless way they sound together makes you believe that they’d be singing and playing whether or not anyone was listening—but don’t let that happen. This album is a classic! —Michael Devlin
ASV—Goin’ To The Dance
2006, Bless Your Heart Music
ASV is Alice and Scott Vestal. Scott is a veteran musician who has recorded and toured with some of the finest contemporary bluegrass musicians. He is a multi-instrumentalist whose award-winning banjo chops are prominently displayed in front of a band comprised of some of the best acoustic players around. Alice is a wonderful singer-songwriter who is equally at home singing bluegrass, mountain, pop and jazz. She has the voice of a woman who loves to sing. Alice and Scott’s chemistry carries through to the rest of the band for a fresh and joyful sound that you can’t help but like. The duo’s songwriting is as strong as the fine material they have chosen to cover. Essential new music! —Michael Devlin
Chuck Brodsky—Tulips For Lunch
2006, Chuck Brodsky/Waterbug
It’s starting to occur to me that Chuck Brodsky is one of the finest singer-songwriters around. He’s an American original, even though you can easily trace a line from Harry Chapin for his story songs and John Prine for his wryly humorous observations. His vocals hover between talking and singing yet each song has its own flavor and rhythm. The stories are often taken from antique headlines and the language is often newspaper plain, but the songs are full of unexpected phrases and subtle images. J.P. Cormier’s production brings a fresh approach to each song, from eastern European with touches of accordion and soprano sax, to old-timey with tuba for bass. My favorites are “The Unreliable Taxi,” about a small-town cab driver you had better never need and “The Man Who Blew Kisses,” a touching tribute to a sweet-natured mentally challenged man who enjoyed listening to music. Some songs have fun with foibles, others are potently political, but Brodsky is more affable than angry—the kind of guy you want to come back to again and again to hear his stories. Essential! —Michael Devlin
David Bromberg—Try Me One More Time
2007, Appleseed Recordings
The best traditional folk album of 2007 may have arrived early this year. It is hard to imagine a more beautifully played, pristinely recorded album, or songs sung with more heart and soul. David Bromberg’s voice is a little deeper than you may remember it, both in pitch and emotion. It still breaks, quavers and bends in all of the right places but now he lingers just a little longer on the words savoring their sounds and meaning. He sings the blues with the ache of a man that’s been around, and the traditional songs with the wisdom of a man who’s lived with them for most of his life. Bromberg’s trademark finger-style playing has similarly matured. Intricate licks are graceful, bass runs lay down the rhythm and slides bend and sustain to wrest every once of expression from the melody. The songs are mostly traditional with Bromberg’s notes in the album detailing their often twisted pedigrees. Many of the songs were originally learned from other performers and records Bromberg has not heard for decades. This album is obviously a labor of love, as are so many of the recordings on Appleseed, and a crowning achievement in the long career of a true and fine musician. Essential! –Michael Devlin
Greg Brown—The Evening Call
2006, Red House Records
The evening is not exactly a cheery thing for Greg Brown. Known for a curmudgeonly wry humor in his lyrics, one gets the feeling that this time there is no punch line. Perhaps the death of Bob Feldman, co-founder of Red House Records, is the source for much of the end-of-the-line fatalism that permeates the album. Still, this is Greg Brown’s dark mood, so the lyrics are poignant, the voice is a deep-throated growl and simple arrangements (co-produced with Bo Ramsey) get right to the point. You may not want to stay in this mood long enough to listen to the whole album, but it is hard to deny the power of these songs. —Michael Devlin
Butch Hancock—War and Peace
2006, Two Roads Records
The Flatlanders’ Butch Hancock’s first solo album in nine years is a powerful commentary on the political climate in the United States. Several of the songs could serve as anthems for change in much the same way late Sixties music served as a lightening rod for pent-up outrage …except that the only thing that’s pent-up these days seems to be the desire to drive to Wal-Mart in an Hummer. Don’t blame Butch if these songs don’t change the world. He sings with the moral authority of and vocal style similar to Bob Dylan as he channels the spirit of Woody Guthrie. Hancock is fearless in telling it like it is, and in taking back religious imagery to make his case for peace. It makes you wonder how right-wing war hawks co-opted the Christian message from people of peace such as Martin Luther King. Hancock stays on-message for the whole album and at times he gets bogged-down in didacticism, but for the most part this is a powerful, very musical and poetic work. Hancock is at his best on “The Damage Done” with its melody that reminds me of Dylan’s “The Chimes of Freedom,” and “When The Good and The Bad Get Ugly” that observes that it is hard to tell one side from the other when both fight and kill and forget their most cherished principles. “Between Wars” ironically sees peace as just a carefree time between wars, highlighting the underlying theme of the album—this all happens because we accept it as the way things are and always will be. Nick Lowe’s “(What's So Funny 'Bout) Peace, Love, and Understanding” entered mainstream consciousness back in 1979…it’s about time for this unflinching look at war and peace. —Michael Devlin
Wil Maring—The Calling
2006, Roan Pony Records
When you are finished reading this review, please, please go to her website and have a listen to her voice. I can’t even begin to describe what it is about it that attracts me so. Is it the easy back-porch alto, the slight twang, the way it just sounds real? Maring’s lovely vocals are surrounded by her Shady Mix bandmates as well as acoustic luminaries such as Stuart Duncan and Rob Ickes. The soft bluegrass arrangements are perfect for the contemporary rural themes of the songs. We visit old farms, drive home from Thanksgiving dinner, defy a twister and live in high clover in the good company of Maring’s warm voice. But we also regard life from the window seat of an airplane and ponder being called to art in a life where you must still put food on the table. My favorite song is “Make You Smile” because it is so persuasively positive, “The future isn’t painted black/ It’s just the past’s a little blue./ Does it take a tickle to the ribs/ To get a smile from you?” The one cover is “Back in the Highlife Again” by Steve Winwood and Will Jennings, given a cheerful bluegrass treatment with sweet vocal harmonies by Wil and Mila Maring. Whether you focus on the heartfelt poetry of the lyrics or the gently intricate playing, Maring and company welcome you to a very genuine place in the country. Essential! —Michael Devlin
Mountain Thyme—A Smile at the Door
2006, Mountain Thyme
Mountain Thyme features the vocal talents of four women who also play a wide array of acoustic instruments including guitar, mandolin, bass, banjo, bouzouki, autoharp and wooden and silver flutes. Their music is graceful, with loving attention to the harmony and the arrangement of their many instruments. The playing is not dazzling, but always tasteful and just right for the mostly traditional tunes. One of the modern songs is Dave Carter and Tracy Grammer’s “The Mountain,” which is led by a djembe beat into “Connaughtman’s Ramble.” A warm celebration by four fine musicians. —Michael Devlin
Ollabelle—Riverside Battle Songs
2006, Verve Forecast
The name Ollabelle comes from Ola Belle Reed, a legendary rural songstress, but this is a quintet of talented singers and songwriters. Rural music may be an inspiration, but with Larry Campbell producing, the sound is full and sophisticated, at times sounding like The Band. The vocals are outstanding, benefitting from a mix of female and male singers. —Michael Devlin
Joan Osborne—Pretty Little Stranger
2006, Vanguard
When I think of Joan Osborne I think of a singer who lets her songs flow through her, channeling Native American vocalizations and syncopating rhythms in a strong, earthy voice. Her debut major-label album Relish, brought her acclaim and success featuring signature songs “One of Us,” “St. Teresa” and “Spider Web.” Osborne aptly refers to Pretty Little Stranger as “My version of a country record.” Much of it is in the commercial country vein, which may be a disappointment to some. While the genre doesn’t allow for the unfettered vocal creativity that is her trademark, Osborne sings with torchy passion and soul. Her own songs are frank and memorable, especially the title track and “Dead Roses,” which features some crunchy slide guitar by Sonny Landreth. Dead Heads will recognize “Brokedown Palace” and the album closes with a very classy rendition of the Crowell/Orbison/Jennings “When the Blue Hour Comes.” If you want a country record by a great singer, this album is for you. —Michael Devlin
Nancy Apple—Shoulda Lied About That
2003, Ringo Records
Nancy Apple takes her songs to the edge of outrageous without ever making you think that she’s not just being herself. A regular on the scene in Memphis, Apple has a good honest twang and grinning-in-your-face attitude that would make her a star in any fair world. Her songs are witty and catchy enough to grab the attention of even the rowdiest crowd, but they also have the ring and authority of the best classic country songs. Her band is likewise stellar, backing her with the kind of rocking country that used to sell millions of records. Essential!
Aoife Clancy—Silvery Moon
2002, Appleseed Recordings
Formerly of Cherish the Ladies and daughter of Bobby Clancy, Aoife Clancy sings traditional and traditionally influenced folk songs. Considering her lineage and the Irish spelling of her name, it is surprising that her singing style is contemporary and the arrangements are modern. Her voice is an amazing instrument, flawless yet interesting and distinctive.
Tony Furtado and the American Gypsies—Live Gypsy
2003, Dualtone
Tony Furtado and his band like to take traditional tunes and their own melodic songs out on stage and give them a good loud play! This band is electric trad with a backbeat and is hot as heck!
Tim Gorman—Celtic Loop
2004, TayMusic
Celtic music enhanced by keyboards and samples. This may seem like a bad idea but Gorman is an excellent arranger and keyboard player. Darol Anger and Mike Marshall are in the band. Funky to enchanting.
Greg Hobbs—Threats & Promises
2004, Puddle Thief Music
This is the fourth CD from the Toronto-based singer-songwriter whose voice and style reminds me of Slaid Cleaves. He has a flare for a memorable, witty lyric and catchy melody and the album is nicely produced. You owe it to yourself to get “Gospel Barroom” (click here) stuck in your head for a couple of days!
Randy Kohrs—I’m Torn
2004, Lonesome Day
Randy Kohrs is an accomplished and well-travelled guitar and dobro player on the bluegrass circuit. Working with and opening for Dolly Parton on a tour in 2002 led to her duet with him on this album, “It Looked Good On Paper.” Randy’s expressive tenor is at its best when he’s bending it in contrast to his slide dobro playing. A uniquely exciting performer.
Lunch Money—Silly Reflection
2004, Squirrel Mechanic Records
I didn’t know this was a children’s album at first because the music is enthusiastic and cheerful without a hint of condescension. Then I realized how much some children I know would like some of the songs...then I realized how all of the songs were OK for kids!
Wil Maring—The Turning of a Century
2001, Roan Pony Records
This is an utterly charming convergence of exceptional bluegrass musicians and the haunting alto voice of a fine singer-songwriter. The songs have a traditional feel in their themes and structure but they are also very much the work of a modern woman. For example the title song refers to people changing their lives in response to the milestone year 2000. Maring reflects on home, the dance of love and the complex feelings you have for people in your life in songs that are thoughtful and consummately melodic. This album will touch you in many ways with its music and thoughtful lyrics. Essential!
Daryl Mosley & Tim Graves—Remembering the Beacon Brothers
2004, Pinecastle Records
Daryl Mosley on bass and Tim Graves on dobro sing the songs of the “almost made it” mid-’50s duo, the Beacon Brothers. There are not many folks around that would know if this is an authentic rendition, but there are some fine, classic country music sounds to be enjoyed. Great harmonies!
Peter Mulvey—Ten Thousand Mornings
2002, Signature Sounds
A stunning album of stripped down solo performances and duets with the likes of Chris Smither, Jennifer Kimball, Erin McKeown and others. Mulvey is a unique and dazzling gutarist who changes his whole sound to suit the song he is playing. Musicianship at its finest!
Various—Hot & Spicy
2002, FGM Records
Record label samplers are often a great way to sample a wide variety of music. Here the musicians are held together and inspired by a concept—standard flatpick tunes performed in duets played fast and “spicy.” The guitar players will drool and the rest of us get a stellar listen. —Michael Devlin
Various—13 Ways to Live
2004, Red House Records
All proceeds benefit the Vietnam Veterans of America Foundation and the organization's relief efforts in Iraq. Talented friends including Abra Moore, Alejandro Escovedo, Eliza Gilkyson, Butch Hancock, Patty Griffin and others all stopped by to record songs with Bukka Allen, Brian Standefer and Robbie Gjersoe at Screen Door Music in Austin, Texas, giving this album a cohesive sound. This compilation stands apart from other multi-artist collections due to the quality of the artists and the intensity and variety of the performances. —Michael Devlin